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    Jesse Ed Davis Was Rock Heroes’ Secret Weapon. And a Mystery.

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    The Native American guitarist graced records by Bob Dylan and John Lennon, but fell to addiction in 1988. A new book and exhibit are telling his story.In the spring of 1967, the blues singer Taj Mahal was about to cut his first solo album for Columbia Records and needed to find a new guitarist in a hurry. He headed to a bar in Los Angeles’s Topanga Canyon, tipped off about a young Native American musician with a mesmerizing touch on the Telecaster. Having already worked with the guitar prodigy Ry Cooder in the short-lived band the Rising Sons, Mahal’s standards were high. But it took barely a minute of hearing Jesse Ed Davis to realize he’d found what he was looking for.“This guy was speaking through his instrument,” Mahal recalled. “In those days everyone wanted to play the blues, but they’d overplay their licks at high volume, trying to get up into the stratosphere. They didn’t have the natural feeling he did — Jesse legitimately had the blues and played it his own way.”Revered by fellow musicians, Davis has remained a cult figure, despite an extraordinary résumé: He played on some of Bob Dylan’s most enduring records, worked closely with multiple Beatles, anchored the band at the Concert for Bangladesh and shaped classic albums by Rod Stewart, Harry Nilsson and Neil Diamond, among others. A complex character who didn’t fit Native American stereotypes or the typical notions of a rock ’n’ roller, in the decades since his 1988 death at 43, he’s remained something of an enigma.The Bob Dylan Center in Tulsa, Okla., is hosting a multimedia exhibition, “Jesse Ed Davis: Natural Anthem.”Zac FowlerThat should change with the publication of the biography “Washita Love Child: The Rise of Indigenous Rock Star Jesse Ed Davis,” by Douglas K. Miller. In conjunction with the book, the Bob Dylan Center in Tulsa, Okla., is hosting a multimedia exhibition, “Jesse Ed Davis: Natural Anthem.” In February, some of Davis’s friends — including Mahal and Jackson Browne — will play a tribute concert at Tulsa’s Performing Arts Center.“Jesse was a phenomenon,” said Browne, whose 1972 track “Doctor My Eyes” was transformed by Davis’s spontaneous one-take solo into a timeless pop hit. “He responded to music in such an immediate way. You always wondered how he became that kind of artist.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Grammy Nominations 2025: See the Full List of Nominees

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      Artists, albums and songs competing for trophies at the 67th annual ceremony were announced on Friday. The show will take place on Feb. 2 at Crypto.com Arena in Los Angeles.Beyoncé is the top nominee for the 67th annual Grammy Awards with 11 nods for her genre-crossing “Cowboy Carter.” The LP and its songs will vie for record, song and album of the year, as well as competitions in pop, rap, country and Americana categories.The superstar — who has already won more Grammys than any other artist — leads a pack of contenders that includes Charli XCX, Billie Eilish, Kendrick Lamar and Post Malone (all with seven nods apiece), followed by Sabrina Carpenter, Chappell Roan and Taylor Swift, who have six each.The ceremony, which is scheduled for Feb. 2, 2025 at the Crypto.com Arena in Los Angeles, will recognize recordings released from Sept. 16, 2023 to Aug. 30, 2024.Here is a complete list of the nominations, which were announced on Friday by the Recording Academy.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Barbara Dane, Who Fought Injustice Through Song, Dies at 97

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      She was highly regarded as a folk, blues and jazz singer. She was also ardently left-wing and prioritized social change over commercial success.Barbara Dane, an acclaimed folk, jazz and blues singer whose communist leanings and fierce civil rights and antiwar activism earned her both critical plaudits and a thick Federal Bureau of Investigation file, died on Sunday at her home in Oakland, Calif. She was 97.Her daughter, Nina Menendez, said that after suffering shortness of breath for several years because of heart failure, Ms. Dane chose to terminate her life under California’s End of Life Option Act.Over the course of her long career, Ms. Dane, with her rich, woody contralto, built a reputation in a variety of musical genres.She established her bona fides as a folky of the first order while still in her teens, performing with Pete Seeger. “I knew I was a singer for life,” she recalled in a 2021 interview with The New York Times, “but where I would aim it didn’t come forward until then. I saw, ‘Oh, you can use your voice to move people.’”Ms. Dane wore her convictions proudly, belting out worker anthems like “I Hate the Capitalist System” and “Solidarity Forever.” She performed at the first Newport Folk Festival in 1959 with Memphis Slim and Willie Dixon. In the 1960s, Bob Dylan would often sit in with her when she was performing at Gerdes Folk City, the Greenwich Village club.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Nick Gravenites, Mainstay of the San Francisco Rock Scene, Dies at 85

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      A blues devotee from Chicago, he tasted fame in the late 1960s with the Electric Flag, a band that made its debut at Monterey but proved short-lived.Nick Gravenites, a Chicago-bred blues vocalist and guitarist who rose to prominence during the explosion of psychedelia in San Francisco in the 1960s as a founder of the hard-driving blues-rock band the Electric Flag and as a songwriter for Janis Joplin and others, died on Sept. 18 in Santa Rosa, Calif. He was 85.His son Tim Gravenites said he died in an assisted-living facility, where he was being treated for dementia and diabetes.Mr. Gravenites grew up on the South Side of Chicago, where he was part of a cadre of “white misfit kids,” as he put it on his website, who honed their craft watching Chicago blues masters like Muddy Waters and Howlin’ Wolf in local clubs. His colleagues included the singer and harmonica player Paul Butterfield and the guitarists Michael Bloomfield and Elvin Bishop; all four of them would go on to help fuel the white blues-rock boom that began in the 1960s.“Being a ‘bluesman’ is the total blues life,” Mr. Gravenites said in a 2005 interview with Sound Waves, a Connecticut lifestyle magazine. “It has to do with philosophy.”“The life in general doesn’t ask much from you in terms of personality,” he continued. “It doesn’t ask that you be a genius, or a saint.” Many bluesmen, he added, fell far short of sainthood: “They just ask that you be able to play the stuff. That’s all.”Mr. Gravenites sang with the Paul Butterfield Blues Band at the Newport Folk Festival in 1965. From left: Mr. Butterfield, Jerome Arnold, Mr. Gravenites, Sam Lay, Elvin Bishop and Mike Bloomfield.David Gahr/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Nuanced, Unreleased Live Bob Dylan Cut, and 8 More New Songs

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      Hear tracks by Linkin Park, Halsey, Queen Naija and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Bob Dylan and the Band, ‘Just Like Tom Thumb’s Blues’On Sept. 20, Bob Dylan will release “The 1974 Live Recordings,” the entire gigantic archive — 431 tracks — of his 1974 arena tour with the Band. Most of “Before the Flood,” the 1975 live album culled from that tour, had Dylan shouting brusquely through his 1960s classics. But he never performed a song the same way twice, and there’s far more melody and nuance in this version of “Just Like Tom Thumb’s Blues” from Madison Square Garden. With the Band in full rowdy roadhouse mode — J.R. Robertson’s twangy guitar jabs, Richard Manuel’s honky-tonk piano, Garth Hudson’s wheezy organ — Dylan delivers the lyrics in a long-breathed croon that merges defiance and tribulation. By the time he belts, “Goin’ back to New York City — I do believe I’ve had enough,” he’s earned the inevitable roar from the hometown crowd. JON PARELESCorinne Bailey Rae, ‘SilverCane’With the single “SilverCane,” Corinne Bailey Rae exults in the adventurous streak that she revealed on her 2023 album, “Black Rainbows.” It opens with a blast of noise and — over a parade-worthy drum thump — struts through an ever-morphing funk arrangement. The lyrics mention American towns (though Bailey is English) on the way to envisioning a future where “All the people shout hurray/There will be no more hate.” PARELESLinkin Park, ‘The Emptiness Machine’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      John Mayall, Pioneer of British Blues, Is Dead at 90

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      Mr. Mayall was best known for recruiting and polishing the talents of one gifted young lead guitarist after another, starting with Eric Clapton.John Mayall, the pioneering British bandleader whose mid-1960s blues ensembles served as incubators for some of the biggest stars of rock’s golden era, died on Monday. He was 90. The death was confirmed in a statement on Mr. Mayall’s official Facebook page. The statement did not give a cause or specify where he died, saying only that he died “in his California home.”Though he played piano, organ, guitar and harmonica and sang lead vocals in his own bands with a high, reedy tenor, Mr. Mayall earned his reputation as “the godfather of British blues” not for his own playing or singing but for recruiting and polishing the talents of one gifted young lead guitarist after another.“Blues Breakers,” colloquially known as The “Beano” album, featuring Eric Clapton was the debut studio album by the English blues rock band John Mayall & the Bluesbreakers, was released in 1966.DeccaIn his most fertile period, between 1965 and 1969, those budding stars included Eric Clapton, who left to form the band Cream and eventually became a hugely successful solo artist; Peter Green, who left to found Fleetwood Mac; and Mick Taylor, who was snatched from the Mayall band by the Rolling Stones.A more complete list of the alumni of Mr. Mayall’s band of that era, known as the Bluesbreakers, reads like a Who’s Who of British pop royalty. The drummer Mick Fleetwood and the bassist John McVie were also founding members of Fleetwood Mac. The bassist Jack Bruce joined Mr. Clapton in Cream. The bassist Andy Fraser was an original member of Free. Aynsley Dunbar would go on to play drums for Frank Zappa, Journey and Jefferson Starship.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Phil Wiggins, Virtuoso of the Blues Harmonica, Dies at 69

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      First as half of the duo Cephas and Wiggins and later on his own, he was one of the best-known musicians playing the style known as the Piedmont blues.Phil Wiggins, a harmonica player of such range that he could make his instrument sound like a clarinet one minute, an accordion the next and then an entire percussion section — all in the service of the complex melodies and steady rhythms of the style known as the Piedmont blues — died on May 7 at his home in Takoma Park, Md. He was 69.His daughter Martha Wiggins said the cause was cancer.For much of his career, Mr. Wiggins was best known as half of the duo Cephas and Wiggins, in which he performed and recorded with the guitarist and singer John Cephas. The two were considered one of the country’s top Piedmont blues acts, and they toured regularly at home and abroad for over 30 years, until Mr. Cephas’s death in 2009.The Piedmont blues is distinct from its Delta and Chicago cousins in its relaxed yet complicated melodies and its insistent rhythms. Its influences include gospel, Appalachian folk and early country music.Mr. Cephas played his instrument with the sophisticated fingerpicking typical of Piedmont blues. Mr. Wiggins would wrap all manner of counterpoints around it, then burst out in a solo that could be aggressive or restrained, tight or relaxed.“The harmonica works the same way as your voice,” he told Blues Blast magazine in 2021. “You have an idea in your mind that you want to express, and it just comes out, the same way speaking happens. In a lot of ways, it still feels that intuitive to me, except that, for me, the harmonica works better than my voice!”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Kendrick Lamar Gets Inspired (by Drake), and 9 More New Songs

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      Hear tracks by Miranda Lambert, Illuminati Hotties, Mabe Fratti and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Kendrick Lamar, ‘Euphoria’Beefs make rappers productive. Earlier this week, Kendrick Lamar dropped a new salvo in his recently rekindled feud with Drake: a six-minute, multipart rejoinder to Drake’s recent “Push Ups” and “Taylor Made Freestyle.” It starts with Lamar rapping quickly but calmly over a smooth-jazz backdrop, taunting, “I make music that electrify ’em, you make music that pacify ’em.” But after he warns, “Don’t tell no lie about me/And I won’t tell truths about you,” the track changes to a tolling, droning trap dirge and Lamar’s delivery becomes biting, nasal and percussive. He switches from flow to flow with an accelerating barrage of attacks, professional and personal, from recording deals to parenting skills: “cringe-worthy” is a milder one. This track is unlikely to be the last round. Lamar posted a follow-up, “6:16 in LA,” on his Instagram Friday morning. JON PARELESMiranda Lambert, ‘Wranglers’The country queen Miranda Lambert commands an atmosphere of smoky guitar licks and smoldering defiance on her new song “Wranglers,” her first solo single since her 2022 album “Palomino.” Lambert spins a third-person yarn of heartbreak and revenge at something of an emotional remove during the verses, but there’s a welcome grit in her voice when she gets to the irreverent hook: “She set it all on fire, and if there’s one thing that she learned/Wranglers take forever to burn.” LINDSAY ZOLADZIlluminati Hotties, ‘Can’t Be Still’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Dick Waterman, Promoter and Photographer of the Blues, Dies at 88

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      A “crackpot eccentric Yankee” from Massachusetts, he revived the careers of long-forgotten Southern artists during the blues boom of the 1960s.Dick Waterman, a beacon in the world of blues who as a promoter, talent manager and photographer helped revive the careers of a generation of storied purveyors of that bedrock American art form while lyrically documenting their journeys with his camera, died on Jan. 26 in Oxford, Miss. He was 88.His niece Theodora Saal said the cause was heart failure. A native of Massachusetts, he had lived in Oxford for nearly four decades.Through his company, Avalon Productions, which was considered the first management and booking agency devoted primarily to Black blues artists, Mr. Waterman provided overdue exposure — and income — to early blues luminaries like Mississippi John Hurt, Son House and Skip James.He also shepherded the careers of a younger blues cohort, including Buddy Guy and Otis Rush, as well as one young white artist, the singer-songwriter and future Grammy Award winner Bonnie Raitt.Mr. Waterman in 2003 in Oxford, Miss. A native of Massachusetts, he lived in Oxford for nearly four decades.Bruce Newman“Dick Waterman just may be the most knowledgeable man on the history of blues,” the music writer Don Wilcock wrote in 2019 on the website American Blues Scene. Mr. Waterman, he added, “sought out the originators of the genre, pulled them out of ‘retirement’ and presented them to a folk audience that to that point considered blues to be a footnote in the American musical history.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More